The Witcher 3: Wild Hunt is one of the best RPGs I’ve ever played. A rich yet depressive fantasy epic spanning multiple nations plagued by monsters and war. It’s a story about prejudice and choosing between greater and lesser evils. Amidst all of that, it remains a world that players couldn’t help but get lost in.
After the release of the live-action Witcher series on Netflix, the game saw a resurgence in interest from fans new and old. I should know, I was replaying it too. It was a quirky and often epic show that had its highs and lows, but despite it all, I loved it. News of new spinoffs and films were only natural, but was the franchise biting off more than it could chew?
If I had any concerns, they were minor, because Nightmare of the Wolf, the first of these spinoffs, was a film I highly anticipated. It came from Studio Mir, the studio behind Legend of Korra. Everything looked in place for this to be an enjoyable prequel centered around Vesemir, Geralt’s mentor.
And somehow, this film surpassed every expectation I had.
Seldom is a movie so addicting that I find myself rewatching it within a day. Even most good films hit the spot just right that I can give it at least a while before a second watch. But some movies, whether they’re short or just incredibly well-paced, get me coming back almost instantly. The kind of film varies, but they have something in common: spectacles that I can’t get out of my head.
Mobile Suit Gundam: Hathaway is one such movie. Director Shukou Murase, the man behind Gangsta, Ergo Proxy, and Genocidal Organ – among others – brings this story to life, from novel to film. It’s the first of a planned trilogy from Studio Sunrise, and it might just be the most gorgeous film to look at in 2021.
Does the title seem too cynical? I mean, don’t get me wrong, I was absolutely delighted to hear that the new Demon Slayer did well at the box office. But then it kept doing well, and then it broke record after record at the Japanese box office. Now it’s in the US with a wide release by Funimation Films, this time with a big Sony logo emblazoned on the front (clearly the big companies are catching onto how much money anime makes). It also has an official R rating by the MPAA, whereas most limited anime releases stay unrated.
This film has the potential to do pretty damn well in the west and to stay in theaters for a while, at a time where it’s feeling safer to go to theaters, even if at half-capacity. It’s the continuation of a major hit series getting the proper cinematic treatment from Ufotable, a studio more than capable of producing hit films, with localization from a major film studio finally ready to attach its name to these anime releases. This could be huge.
My heart has belonged to Kyoto Animation for a long time. And their shows have always looked good – that’s not even a faintly nuanced observation. The 2010s was the advent of an in-house style that helped forge their identity without ever feeling like a stagnant or limiting trait of the production house. Be it the character work by Miku Kadowaki, Futoshi Nishiya, or others, the character art is something that hasn’t quite been matched by another studio.
Even before their in-house style became synonymous with their identity, their artwork was rarely a sore spot in the final product. However, how well do we regard the actual “animation” of Kyo Ani’s works?
Pretty well as a matter of fact. Consistently. From Liz and the Blue Bird to Silent Voice, I’ve praised the subtle character movements and facial twitches that create the small reveries of human pathos. Occasionally, these dramas or slice-of-life comedies might even present an action scene. Kobayashi’s Dragon Maid had ridiculously bombastic action and even Clannad had a pretty dope fight scene. However, I get the feeling that when people say that Kyoto Animation has great animation, they actually mean “great artwork.” It’s worth distinguishing between the two.
I don’t think any show from the studio has consistently reminded me of how great their animation talent is more than one particular show. If you would permit the generalization, the average viewer may not stray close to offering a critique of actual animation outside of shows or genres that incentivize consistent motion in their presentation. Hence why most people, regardless of their inclination to media criticism, often praise the animation of the hottest shonen/action series.
Following that line of logic, this week’s review is an action show with plenty to gush over. Beyond the Boundary – Taichi Ishidate’s directorial debut – is one of my favorite works by Kyoto Animation, and what I believe to be their best-looking show. Or rather, it is the most consistently upfront with what the studio is capable of, both in TV and film.
Bleach, despite the myriad criticisms I’ve heard leveled at it, has maintained a reputation akin to anime royalty. Even from the outside, it isn’t unfathomable as to why. The art direction and style is striking enough that I can’t say I’ve seen many shows that have mirrored the look of its characters. Additionally, the show’s lifespan on cartoon blocks like Toonami guaranteed it a legacy in the minds of a generation that stayed up way too late on a Saturday night to see the newest episodes.
2020 marks the 20th anniversary of the franchise and in celebration of that, the series seems to be getting a resurgence in more ways than one. Firstly, it was announced that the manga’s final arc would be adapted in a new anime project. Secondly, a new manga spinoff of Bleach would begin in the summer of this year. The spinoff had previously started as a one-shot back in 2018 but would now turn into a full series, with a short film meant to generate hype and interest. The series in question: Burn The Witch.
If you like the review and are interested in reading more by me and the rest of the AQ crew, be sure to bookmark AnimeQuarterly.com and make it your next frequent stop for anime news and reviews. Also, help us grow by supporting us on Patreon. Without further ado, here is my review of BNA.
No convention has been a greater boon to animation as a whole than the anthology. Granted, I love anthologies in most mediums. A collection of short stories from a slew of diverse, creative minds can expose audiences to all kinds of stories and genres they wouldn’t normally see or seek out themselves.
In terms of animated anthologies, works like Batman: Gotham Knight, The Animatrix or recent experiments like Love, Death, & Robots are perfect examples. They expand upon established works and introduce their own lore spanning myriad genres and subject matter, all while experimenting with myriad art styles.
The best part is that you can hook the audience with at least one story and they’ll surely be curious enough to see how the others fare. Maybe they don’t love all of them, but even one or two great stories can make the entire collection worth it, especially if the whole package is an hour and forty-five-minute film with three stories.
In 1995, Madhouse and Studio 4°C collaborated to create Memories, a collection of three short films based on short manga stories written by Katsuhiro Otomo, the man who created Akira. Since Otomo seems to always be involved in the animated adaptations of his work, he was the executive producer for Memories and even directed the third and final short himself.
Together with Darker Than Black director Tensai Okamura, Studio 4°C co-founder Koji Morimoto, and legendary director/writer Satoshi Kon, Memories was an ambitious fusion of three very different kinds of stories. If the objective was to make something that would stick in your mind, then they certainly picked a fitting title.
Here comes Matthew again, leaping to review another anime by Bones. I suppose that’s all I’m good for, isn’t it? And it’s directed by Masahiro Ando, no less…
Is Masahiro Ando my favorite anime director? He’s certainly up there with blokes like Takuya Igarashi. After all, Ando directed Snow White with the Red Hair, a show that I consider to be an empowering masterpiece of feel-good fantasy romance. Be it a drama or an action show, he is a talented director… though not without some missteps.
What I watched of Canaan never gripped me and reeked of a show whose potential was hurt by low-denominator tropes and poor writing. Under the Dog was an average pilot to a series that will never come out. And Sirius the Jaeger? More like Serious Disappointment (don’t hit me).
I would call Masahiro Ando the Brad Bird of anime. He makes some legendary stuff that will stick with you for ages, but he also tends to bat 50/50. It’s hard to tell why. Maybe it’s the source material on certain shows, maybe it’s other staff members, or maybe Ando is just inconsistent depending on the project.
I’ll cut through some of the snark and assure you of one thing, though. Blast of Tempest (or, Zetsuen no Tempest: The Civilization Blaster) is certainly on the good side of Ando’s batting average.
The entirety of Space Dandy came and went in 2014, getting all kinds of buzz for all the right reasons. It was even fairly historical given that it premiered on Adult Swim in America before it even aired in Japan, with the English dub and everything. This was the beginning of the era of simulcasting and simuldubbing This show was a big deal.
Maybe about a year or two later I got the blu-ray of the complete series. And like any rational person who got a Blu-ray of a show, I watched a few episodes and then didn’t finish it until 2020… Seriously what the fu-
With Shinichiro Watanabe as Chief Director and Shingo Natsume as director, Space Dandy was a high-point for Studio Bones that despite the praise seems strangely absent from conversations about classics in the medium in recent years. It has the kind of recognition that assures that it will be referred to fondly, yet I feel like after watching, the expectation greatly differs from the actual product.
In 2015, P.A. Works produced what would be remembered as one of the best shows of the year, Shirobako. The series was, funnily enough, an anime about making anime. It was praised for its depiction of the hardships of working in the industry as well as the optimism with which it approached its story of overcoming hardship.
There have been a few shows that have dealt with similar subjects, usually in a business-type setting. There was New Game, about game development, Girlish Number, a cynical comedy about the darker side of anime production, and all-in-all, plenty of shows about working women in creative fields.
However, no other show quite retained the same popularity and acclaim over time quite like Shirobako. That is, until now. After ONA’s like Devilman and films like Ride Your Wave and The Night is Short, Walk on Girl, Masaaki Yuasa returned to TV anime for something truly special.
Eizouken ni wa Te wo Dasu na, or Keep Your Hands Off Eizouken, might very well be one of the most uplifting, insightful, and inspiring shows I’ve seen in a very long time. It does for the industry much what Shirobako did, openly disclosing the ups and downs of the business, but in a way far more imaginative and stylistic than it’s predecessors.